Category Archives: Terror Trax

It was an appropriately gloomy evening when I arrived at the supposed home of one Lucifer Fulci, he of grand purveyors of musical darkness, Lords of October. The wonderfully decrepit house seemed to leer at me as I approached its foreboding frame, while dead leaves crunched under my feet along the stone walk that led to the front door. I rang the bell. A moment later, the tall oak door creaked open. A cold wind rushed out, wrapped me up in icy tentacles, and pulled me inside. An orange light bulb burned bright above a doorway off to the left of the foyer, catching my attention and drawing me to its eerie luminescence. My pulse quickened. I approached the door. It opened for me and I stepped through. On the other side, my feet touched down on soft earth. I was in a crumbling cemetery, fog rolling over my feet, a glowing purple and orange sunset filling the sky above. I turned to see that the house had disappeared. I grasped my official Horror Addicts Staff laminate for courage, swallowed hard, and after setting my sights on a particularly majestic mausoleum, I strode out into the misty graveyard. Once within the shadow of the great crypt, a deafening racket corrupted my senses. Obviously coming from deep within the vault, I conjured that the source of the noise was the band that I sought, the mysterious Lords of October! Just as I stepped closer to the tomb, a dark and foreboding figure stepped out of the gloom and bade me a cheerful hello. It was in fact one Mr. Lucifer Fulci, the man whom I was assigned to meet. He explained that I had entered Octoberland, a world where time is perpetually set at dusk, and every day is Halloween. He said the group’s practice session was just beginning, and I walked with him into the crypt. Following their joyously ear-splitting practice, I was treated to an enlightening conversation with Lucifer Fulci, Uncle Salem, and October Phoenix, whereupon I learned how the band used their otherworldly musical magic to conjure their own personal alternate reality, among other spooky and fun subjects. To enter the eerie and wonderful world of the Lords of October, read on… if you dare!

To begin, how did The Lords get together?

Lucifer Fulci – Hello and ghoul evening. I have summoned the dark gods of horror that I am pleased to grace the land of Halloween with. I present to you, also, Uncle Salem and October Phoenix.

The short version is that, Uncle Salem and I had known each other for a while and had many things in common. Both horror authors, worked on a horror con together, all kinds of love for the same music. We talked about making music, but for me, a LOT of people talk about it. I kept wondering if he was legit. And guess what? Totally legit. When I first heard his voice, I was like FINALLY…a real singer. I love it. Since then, we have become brothers like no other. We brought in his son, Aleister and then later found October as we were seeking a drummer. He was a perfect fit for us, not only musically, but with his creative side, too. We are all many things, but we are always brothers.

Uncle Salem – Called together in the sacred hollow; and Craigslist.

October Phoenix – I answered an ad from Craigslist.

What is the inspiration behind the band?

LF – It’s all about Horror, Halloween and the Supernatural. That is our love. That is a given. But musically, it’s about a progressive diversity that can be imagined and felt thru the eyes of horror. I grew up to the music of Goblin, Sabbath, Rush and John Carpenter…and so much more: All the best of rock, metal, prog and soundtrack.

US – To create something cool and maybe even a little sacred with a band of brothers: Music with presence.

OP – Horror and metal!

Where does your love of horror come from?

LF – Early inspirations were old folk tales, true life haunted experiences and good, spooky books. Some of my all-time favorite films are The Exorcist, Dawn of the Dead, Phantasm, Hereditary and The VVitch.

US – Many things, but I can pinpoint it to a few childhood things…my mother had a book of poems and a few of her favorites were horror oriented, and they fascinated me. She also had a 45 single of the song “Swamp Witch” by Jim Stafford that scared me and intrigued me simultaneously. Also, one Sunday morning, I watched Abbott and Costello Meet Frankenstein with my father and was immediately drawn to the monsters. A couple years later my uncle brought me a stack of Famous Monsters magazines and that did it.

OP – I’ve always loved the spooky and creepy side of things. Movies, music, and especially experiences, like wandering around cemeteries.

You obviously have great love and reverence for Halloween. How do you feel about the way it is currently celebrated in our American culture?

LF – I love that it is so popular. I enjoy the traditional nature of the holiday and all the history behind the truth of it…and oh, when the veil becomes ever so thin…that is when I weep, for I miss the souls that have passed. And then there are the people who just party. I say, live it up, baby! Just watch out for those evil dead!

US – I think it’s great because what Halloween is has never stayed stagnant; it’s never been based on one thing or even one set of things. It evolves and reflects the current atmosphere in ways. It’s really the American holiday in that it brings a multitude of various celebrations from all over the world over the past thousand years and collects traditions as it goes. There are things about the actual modern celebration that I love and things that I don’t, but I love its continued evolution most of all, because that is how Halloween got here.

OP – I think Halloween is great in our culture. We get to dress up and have fun. I think it’s one of the few holidays that hasn’t become commercialized as much.

How do you personally celebrate Halloween? Do you do anything special as a band?

LF – I celebrate traditionally with the carving of pumpkins, costumes, prayer and meditation. I do private ritual and public celebrations. Often, the band is involved. Sometimes, it’s about writing the music at the right hour, right day. Besides, I live the Halloween holiday each and every day, but there is a special reverence that begins on Sept 1 and carries on until mid-November. It is the fall: Our autumn. When the shadows are long and the blood is deep red.

US – I run a free home haunt with my wife and family and friends, and have a seasonal magazine called Halloween Machine. As a band, Halloween is pretty much at the forefront of what we do…it’s the spirit of us. We bring Halloween with us where ever we go. When we show up, October shows up with us.

OP – This year, we are throwing a Halloween party, but usually I would hand out candy, or help Salem with his haunted tunnel.

In a spiritual sense, do you feel that Halloween is important to our society at large?

LF – Yes. Whether people get the true power and nature of the holiday and meaning is beyond me. It’s very personal.

US – Yes, personally and on a larger scale, because there are very few things we do as a society that references the past in a meaningful way. It’s the calendar placement, the reverence for the sacred night. On a personal level, it’s the magic of my childhood…my grandparents, the autumn colored sky, the sights and sounds and smells. Only Halloween has these things.

OP – I think Halloween is important. It’s important to share and create memories by going out together. Halloween gives us the opportunity to do that. I’ve always gone out with friends and family. The memories we made will stay with me forever.

You never specified earlier, but, how were you able to use your music to create this wonderful alternate reality, Octoberland?

LF – Within the inspiration, vibration and meditation is Magick. When we 4 souls play collectively, it opens doors and creates worlds.

US – We were gifted it from the spirits of autumn; we pull it from the wind, a muse that grants us the means to bring the magic into this realm.

OP – Our music creates a different experience for each individual person. There’s some that’s fun to dance to, some that touches your heart, but all of it is meant to give the listener an experience.

What is your all-time favorite cursed album?

LF – Not sure if I know what you mean…

US – Maybe “Strange Days” by the Doors, or, “Marquee Moon” by Television…

OP – Even though the whole album doesn’t carry the same theme, Thriller will always be my favorite album.

Who is your all-time favorite cursed band?

LF – ?

US – The Beatles

OP – I don’t think I could choose just one band. I have so many favorites.

In your opinion, can a trusty and much-relied-upon fog machine be considered a band member after a certain amount of time?

LF – LOL. Yes

US – I have never known a fog machine to be trusty…a fog machine stole my friend Wes’ skateboard.

OP – We don’t really use fog machines, but I could see how bands would rely on them.

US – Well written, whatever the subgenre. I like paranormal stories, folklore, and campfire type stuff. Atmosphere is important for me. I like the Universal Monsters. I like Freddy, The Witch, Pet Sematary, John Carpenter, and Wes Craven.

OP – It depends on my mood, really. Most of the time, it is hard hitting, heavy stuff.

What is your favorite type of horror media?

LF – Books. I LOVE BOOKS. They are treasures. I own thousands. And absolutely ZERO eBooks.

US – I suppose it would be movies, but I love pretty much any kind of creative horror regardless of the outlet. I love listening to old Vincent Price story albums, for instance.

OP – Any kind, really, I don’t discriminate.

As an individual, how does horror influence or impact you in your daily life? How is it important to you on a deeper level?

LF – For me, I live my life like batman. It just is. I am the dark knight in my own way. By day, I do social work. By night, I am Lucifer Fulci. It has always been. It always shall be.

US – Horror helped me from childhood. I saw “A Nightmare on Elm Street” and was empowered by making it past the boogeyman just by managing to watch the whole thing. Horror got me into writing; I write for Rue Morgue magazine and other horror and Halloween related publications, and I write both fiction and non-fiction horror books.

OP – If you met me during a normal day, you might not even suspect that I’m into horror. As Lucifer would say, I’m Bruce Wayne by day, Batman by night.

What is your favorite Lords song to perform live?

US – That probably changes from show to show as we are getting feedback from the gathered crowd. But I always look forward to “Black Phillip” and “Annabel Lee”. I’m looking forward to playing some of the new songs, like, “Marshall’s Gully” and “Phoenix Rising”. “Autumn Fire” is a crowd pleaser.

OP – I would say my favorite song to play live would be “Autumn Fire”. I can go crazy on that song, but I have to pace myself. I’ve worn myself out for the rest of the show because off that song. We’re doing the finishing touches on our latest album. And we will be opening for Doyle in November.

What’s next for the band?

US – Our new CD, The Haunting at Beckwith Court, a horror concept record where each song also stands alone. Then we keep bringing our music to as wide a base as possible. Joy, love, magic. More new music. Videos.

How can we keep up with the Lords of October?

US – Google; If you Google Lords of October, you will get links to a multitude of spooky cool Lords links. Facebook, Reverb Nation. Or you can say our names three times in a mirror and we will appear in your kitchen and eat all your food.

OP – We’re all over social media. You can find us on Facebook, Twitter, and I think we have an Insta. We get around.

How do I get back to the other side, you know, er, Michigan…?

LF – Close your eyes, tap your heels three times and say…there is no place like…er…umm…Michigan! Say yes! To Michigan! Say yes, yes, yes!

US – You are all our children now.

OP – You’ll have to ask the gnome.

Post Script: I never found the gnome, I am lost in the fog, and the band members never gave me their secret recipe for spiced blood upside-down cake that they had promised me. I am sending all interview notes, along with this post-script, via a friendly vulture named Clive. He promises that he knows the location of HorrorAddicts.net headquarters and will deliver these materials in a swift and considerate manner. He seemed a kind and trustworthy soul and I now put my faith in him and in you, dear Emerian. Unfortunately, though, Clive did not know the way back to Michigan.

As last you may remember, I was being held captive in a castle in Los Angeles, abandoned to my fate by my captors–Gothabilly rockers extraordinaire, The Barbarellatones–who had flown to Eastern Europe for a clandestine meeting with descendants of Dr. Frankenstein. Thankfully, our esteemed and fearless leader, Emerian Rich, dispatched her ravens, which located me in the turret, removed my restraints, and gave me a snack. Once freed, I was on my way to my next assignment in dismal, sunny Australia, where I was to meet with heavy horror rockers, Spaulding. Upon arriving at the band’s favorite hangout -the alley behind their hometown morgue- and finding said area deserted, I was intercepted by a tiny, fearsome creature that identified himself as Intergalactic Space Wool. A creature of fuzzy yet menacing appearance, he informed me that the band members used mental telepathy to speak through him and he would, therefore, be answering all interview questions. The alien being then proceeded to pull questions and implant answers and other atrocious and unmentionable notions into my brain. He then stomped on my right foot while shouting fiendish phrases, indeed an unearthly incantation, and I instantly found myself back at Horror Addicts HQ, both my mind and big toe throbbing with pain. Once resident staff physician, Dr. Golem, had removed the answers from my brain, along with the other torturous implants, I was able to transcribe the interview here for you by use of my trusty spell-enhanced 1984 Wheelwriter. I hope you enjoy the strange words which follow.

What’s the inspiration behind your chirpy, light-hearted hit single, “The Miracle of Birth”? How has the reaction been to this song?

Every body’s response has been great to this lighthearted tale of removing fetuses with wire coat hangers…

How does horror inspire your song writing?

Not as much as Phil Collins has…

What kinds of horror art and culture are you into?

The answer for all of that is erotic… Complete and utter obscene erotica… also graphic novels, and classic films such as Toxic Avenger, The Human Centipede and Flubber.

Who are some artists/bands that you love to listen to?

We all have very different tastes as individuals; personally I just like to listen to old looney tunes cartoons and the sounds of children screaming.

But on a serious note between us we vary from industrial nu metal to psych rock, death metal, Goth rock and blues. We all have the bands we grew up with and can’t let go of, Smash mouth, Backstreet Boys, and even Celine Dion.

Why is unicorn jizz so delicious?

Clearly it’s because of all the pineapples they eat, that’s why they all live in Mexico.

What inspires you to create?

The fear of not creating, an undying relentless urge to defile the orifice of anyone dumb enough to give me the time of day.

Do you believe in the existence of evil?

No I don’t believe. Life is wonderful and fair and just and everyone lives to an old age with no bad things ever happening to anyone.

Can dark music be a positive force in society?

I feel dark music has done wonders for the Catholic Church.

Do you think anyone outside the horror scene really pays attention to what we’re doing? I mean, are the glory days of being a threatening force behind us -like when parents were terrified of W.A.S.P. and Slayer in the 1980s?

Unfortunately not, everyone these days has been too desensitized by the growing urge to rebel and stand out. Pop stars are whores and no one blinks an eye, even murder isn’t what it used to be… It is impossible to offend masses without doing something completely extreme such as rape or pedophilia and the day entertainment comes to that, we’re out.

If all the members of Spaulding could join their bodies together to form one gigantic super monster, what would that monster be?

The Human Centipede…

How do you feel about clowns?

Is this a trick question?

What can you tell us about intergalactic space wool?

No one is truly sure of the space wool’s origins… What we do know however is he is a malevolent being, existing within the realms of the human plane of existence, corrupting human minds and spreading a dark plague throughout humanity…

Your lyrics speak of real-life horrors (“Morning After”, “Family Values”) and supernatural horrors (“Midnight Snacks”). Is this intentional or do you just write about whatever comes to mind?

Whatever keeps me up at night…? I never set out with a topic in mind; I basically just string words together and see what comes out.

What is your favorite kind of curse?

Steev is quite fond of FUCK, I think that Loz would probably side with Cockwomble, I don’t know how many times a day Nardz uses the phrase “Oh Get Fucked” and Henry’s a good old fashion cunt man.

While recently meditating in the dank sanctuary of a bleak, rotting cathedral, I was horrified to open my eyes and find a dusty old hymnal floating in the air before me. The name, Creptter Children, was carved across the tome’s ancient cover. As I reached out for the songbook, it opened with a ruffle of pages. Dark blood seeped out of the paper, running down the center crease and spilling onto the floor. I touched the blood, and the book pulled me into itself, snapping shut, trapping me. I found myself in an inverted world. The cathedral was a negative image of itself. A powerful, female voice called from the surrounding darkness. “I will give you the answers you seek,” she said. I stepped forward to a small table where sat a quill, parchment, and ink. Vocalist, Lyricist, and guitarist extraordinaire Iballa Chantelle floated out of the shadows on a throne made of skulls and cobwebs. The throne descended, and as she spoke the prophetic words of questions I had yet to ask, I began to write.

-What’s behind the band name? What is a Creptter child? Who are the Creptter Children?
The name ‘Creptter’ is a word created from a premonition I had many years ago, where an entity told me I was going to start a band called ‘The Creptter Children’. ‘Creptter’ means spiritually evolved, the abilities that lay among us all to be spiritually aware, physic and our powers to better oneself.

-What do you love about dark, heavy music?
I love everything about the dark and heavy! I love the build-ups and the amazing energy I get from listening. It’s like walking into a theme park; you’re overwhelmed with excitement!

-Listeners often discuss a black metal element in your sound. Where does this element originate from?
Theses influences stem more from my end, as I’m a fan of the black metal genre. N8or also enjoys black metal to a certain degree as well particularly when it comes to drumming influences. I especially love symphonic black metal. I enjoy listening to bands of this style. I love gathering ideas and inspiration for my own song writings.

-What’s the dark music scene like in Australia? How does it compare to that of the scene in America?
Unfortunately, Australia has a rather small dark/gothic music scene compared to places such as the USA and Europe.

-How did the band get together?
The band formed originally in Perth Western Australia during 2006. I had left a previous band and N8or had offered to produce some of my music. I liked what he had to offer so I asked him to start a band with me and that’s how The Creptter Children began!

-Who are some bands that you enjoy?
I enjoy listening to many bands. Mostly in the metal genre. I do also listen to other music genres but metal will always be life! Some of my favorite metal bands I love include Dimmu Borgir, Immortal, Behemoth, Manson, Carach Angren, Septic Flesh, Belphegor and Cannibal Corpse. There’s just too many to choose from but you get the idea of what I’m into!

-How does horror inspire and influence Creptter Children?
Horror is every day! I’m attracted to the darker things in life. Some interests I have include the supernatural, extra-terrestrials, space, planets & collecting oddities. I like including these elements into the band and music. Obviously, N8or and I both love horror movies! Some of our favourites include; Nightmare on Elm St, Halloween and Child’s Play.

-As individuals, what kinds of horror art are you into?
I like a lot of satanic and fantasy style of art as well as oil paintings from the Renaissance period. N8or also appreciates similar art styles as well as modern day pop art and graphics

-Are you classically trained musicians or self-taught?
I’m a self-taught vocalist. I have had training in the past with guitar tuition in my early teens. N8or has also had some musical training and is a self-taught music producer and owner of ‘The Crib’ Recording Studio in Melbourne Australia.

-What are the future plans for the band?
More releases, upcoming music videos, and tours

-If you could play at the apocalypse, what song would you end your set with?
If we’re talking zombie apocalypse then you’ll probably see us fighting off zombies as opposed to rocking out!! But let’s just say we’ll finish on “Possessed”!

During my thus far short tenure covering the Terror Trax column for the HorrorAddicts.net website I have been able to speak with a variety of wonderful and interesting purveyors of aural gloom. However, I never expected to find myself in a community college in the Czech Republic, attending a class entitled: Applications of Dark Mathematics in Modern Heavy Music. But there I was, sitting in on class with seventeen year-old wunderkind Karel, the brain behind horror-fueled atmospheric metal machine Hormones, who is attending the evening class in order to further expand his dark horizons. Following the mind-bending lecture, Karel and I retired to his favorite fog bank where this interview was conducted. I meant to invite the mysterious teen for some post-interview coffee but as I packed my notebook, pen, and tape recorder into my bag, a billow of fog enveloped young Karel and, when it cleared, he had vanished. I was never able to locate him again. All I have are the brief words which follow.

Who is Hormones and what do we need to know about them?

Hormones is a one-man-band powered by Karel Fošumpaur from the Czech Republic which is based on creepy and tough sounding mathematical instrumental music. Main crazy rhythms are supported by experimental ambient melodies. Some may call it Djent or Thall. But the main characteristic is the tone of my guitars and bass, which still evolves.

Can you please tell our readers how you use math and algorithms to create your music?

The interesting part about math music is figuring out the algorithm and possibly enjoying it. So it would be a spoiler. 4/3. That’s all I can say. 🙂

What if math could be used to create evil spells?

Then I would become cursed evil mathematician 🙂

What inspires your music?

There are similar bands which have influenced me, but the main inspiration source is unnamed strange emotions which flow through me sometimes… And also landscapes, sci-fi topics.

Your debut album creates a dense atmosphere that at certain points invokes images of being alone at night on a foggy, desolate city street with a knife-wielding maniac slowly stalking through the background. Was your album influenced by horror movies or horror fiction?

I love horror. The trilogy of mathematical horror movies Cube belongs to my favorites. And there could be a little connection with my music… 🙂

Who are some bands or artists who inspire you?

Bands like Vildhjarta, Nemertines, Meshuggah, Harkla or guys like Mick Gordon, Robert Fripp.

What is your home city? Is there a heavy or experimental music scene there? If so, what is the scene like?

There’s no scene of this kind of music at all in the whole country. Only a few would enjoy this stuff here…

In your opinion, what elements make for truly creepy music?

In my opinion, the main elements are low-tuned guitars, dirty bass, dissonant awful tones, reverb-drenched ambient melodies and tough drums. I can’t play guitar well, so I play it at least simply and creepy. 🙂

The use of heavy, distorted bass guitar as the lead instrument is not a common choice. What led you to use the bass for this purpose?

I’m generally a bass player. The sound of my bass is very important to me. I like it dirty and heavy – it’s suitable for my purpose. It has to sound like an angry bull or like the birth of a black hole, not like some soft sub-bass…

What is the best type of curse?

Being blind among the most beautiful women in the world…

What can we expect from Hormones in the future?

New guitar tones and some background samples as an ambient part of my music. I aim now more for singles than an album. New stuff will be soon. 🙂

Please check out the ultra-heavy self-titled album from the mighty Hormones!

The following is a real interview with a real band. It does, however, take place in a fictitious world.

It was raining again on Tuesday, which made me happy as usual, because I could sit at my kitchen window and watch the Unclass peasants, who can’t afford to install the weather predictor app on their portable life-line telephones, being melted into the sidewalk by the sudden and fierce onslaughts of toxic rain plummeting from the rusted sky. Watching an elderly man fall to the pavement screaming, clawing at his melting face and pulling his cheeks loose from their bones, I chuckled and took a sip of my coffee, thinking about how thankful I was for my tiny hovel’s triple titanium reinforced roof and siding. The old man’s legs melted off and my phone rang, alerting me of an incoming call. I answered on the second ring. It was Bug Gigabyte. He said he was ready to do his interview for Horror Addicts. Delighted, I screamed aloud an ancient curse of joy and threw my cup of coffee across the room, smashing it against the wall and sending porcelain bits raining down on the cold, tile kitchen floor. Sensing the excitement in my voice, Bug asked if I could meet him at Café Metroid in twenty minutes.

“You’re goddamn right I can”, I replied. After saying our mutually cordial goodbyes, I hung up and raced into my clothing container booth to put on my chemical rain and toxicity resistant cloak. Five minutes later, with my trusty journalist’s satchel slung over my shoulder, I was hopping over melting peasant corpses, rushing toward my destination.

#

Stepping over the remains of several peasants that were splattered near the front entrance, I entered Café Metroid. I pulled back the hood of my protective cloak. My eyes scanned the room, searching for Bug Gigabyte’s signature black mowhawk. My stomach rumbled. I needed a quadruple ghost pepper infused espresso shot to calm my excited nerves. I stepped into the line that led to the counter. Suddenly, the café’s front door exploded open. I calmly looked over my shoulder to see who or what had burst through the entrance. A Seeker tore past me, brandishing an inert particle reverser in her trembling hands, a determined fire in her eyes. My eyes trailed her, watching her disappear through the swinging kitchen doors, admiring her athletic form held inside her tight leather pants. I felt a hand on my shoulder. I turned. It was Bug. He smiled at me, held up what looked like an old-fashioned TV remote, and pressed a blue button in the center. All the patrons waiting in line ahead of us disintegrated, turning into pale dust. A café employee appeared with a broom and dustpan and swept them up while Bug and I strolled up to the counter and placed our orders. Moments later we were seated in a cozy window booth.

I took a sip of my piping hot drink and asked Bug how he’d recognized me in the line.

I then remembered that my black cloak has the words HORROR ADDICTS STAFF emblazoned in huge red letters across the back.

“Oh, yeah, that makes sense,” I said with a chuckle.

The rain intensified, pelting the layered safety glass of the café. Another Seeker sped by on a hyper bike. The sight of two of them in such a short time rattled my nerves. I looked at Bug. “We better get started.”

He nodded. “Alright, then…”

After retrieving my digital recorder and a pad and pen from my satchel, I hit the record button and set out to learn the dark secrets of this most elusive creator of dismal worlds of sound.

I cleared my throat and began. “According to your Bandcamp bio, the albums Revelations of the Nintendo Generation (Vol. 1 & 2) were created using the KORG DS-10 program, which is the same software used to create music for the Nintendo DS. Could you please explain a bit of this seemingly mystical process to the uninitiated?

Bug shrugged and answered. “The DS-10, which is the name of the program, was developed by a software company called Xseed games and it’s a digital model of the KORG MS-10. It gives you creation leeway to where it gives you two synthesizers, 4 drum sounds, and a pattern editor to compose the sounds into a musical form. Technically it is a video game, but it is made so well that is a watered down version of a modern day DAW (Digital audio workstation). I created 9 songs on the Nintendo Game alone, and then I imported each instrument into my studio and added guitars, drums, vocals, and extra effects. It is great for beginners as it is a tool to help them learn how an analogue synthesis works. When you sign up for a VIP membership on my Bandcamp, you actually get the original files that came from the DS before I manipulated everything in my main computer.”

“Very intriguing technique”, I said.

Bug took a sip of his soda. An explosion echoed from the third floor of the City Records building across the street. The toxic rain fueled the flames and caused them to leap high into the sky.

“Looks like it’s happening again,” Bug remarked.

I nodded in silent agreement and scribbled a note to myself to check my will if I made it home later that afternoon.

Bug squirmed against the imitation leather seat of the booth. “Next question please, um… what did you say your name was.”

I frowned. “I didn’t, and I won’t; it’s part of my mystique as a distinguished Horror Addicts journalist and I would appreciate it if you wouldn’t ask me again.”

I felt my fingers gripping my cup tight. I could feel the rage building inside.

Bug grinned. “Just kidding, man, I used to write for The Dark Prints. I know all about the mystique.”

I laughed and a female scream tore through the air outside, perfectly complimenting the harmonious atmosphere that Bug and I were cultivating in our café booth. I cleared my throat, took another sip of my espresso, and began again.

“What inspired you to create dark industrial music using the same equipment that was used to create music for Nintendo DS games?”

“I always thought to myself that, for my first big release, I wanted it to be something interesting where not just fans, but industry as well would look at it and think, ‘What did he do with it? What? A Nintendo DS…?’ I always felt that the story behind the way the sounds are made is more interesting than what is on top of them or comes what after that, and I wanted to capture that element with those albums,” Bug explained.

He seemed so fixated on this Nintendo, an antiquated video game system, one of a handful played by our old-world ancestors that I was vaguely familiar with. Considering his class status as a Neo-Tech, I didn’t quite understand how this obsolete game system seemed to inform his identity. I needed to know more.

“Who is the Nintendo generation and what are their revelations?” I inquired.

Bug fixed me with a serious, contemplative glare. “Throughout history, there has always been this gentleman complex in society as far back as the 1800 to about the 1960s, and scraping by on the 70s. By the time the 80s hit, life was more culturalized because we were becoming more connected by technology and the average man had a lot more different complexes due to the social down turn of society and what was going on throughout the global community. With that in mind, the Nintendo generation is made up of kids that grew up with the original Nintendo, playing games like Mario, where you are always the hero trying to save the princess. It is the hero complex within us -where all that is wrong- we want to change. It is embedded into our subconscious through the video games. That was my revelation.”

Fascinating! An entire philosophy gleamed from a gray and black electronic box. Maybe there were ghosts inside the primitive circuitry that subconsciously communicated these messages to the young artist? I scratched these ponderings onto my notepad while Bug graciously awaited my next question. Outside, the rain poured down even harder. I was beginning to feel nervous.

I looked up at my subject. “Bug, what is the inspiration behind SINthetik Messiah? Is there a meaning behind the band name?”

“SINthetik Messiah, to me, is an avant-garde art project that started out in 1996 and it was based on the theory of using gorilla tactic promotional ideas in the art community to help inspire others to strive better in their art form. I would describe Gorilla Tactic promotion as promotional material that involves stationary positions in society where it can be seen clear as day. Sometimes put there illegally such as graffiti. Then years later, I fell in love with music and it kind of just evolved after that,” Bug explained.

“A philosophy, a visual statement, and all leading up to an auditory exploration…?” I pondered out loud, my words trailing off.

My interviewee offered no response as he stared out the window, riveted by the raging fire across the street. He trained his eyes upward. “The sky’s turning purple,” he whispered. “I wonder if the Seekers will make it in time.”

Seeing Bug’s expression turn dour, I quickly made my best effort to turn the conversation back to the subject at hand.

“Tell me, please,” I began. “Are there any key influences on SINthetik Messiah, musical or otherwise?”

Bug turned back to me, a slight smile across his face. “In the beginning, it was acts like Portishead, Nine Inch Nails, Wumpscut, and many other acts in those experimental genres that really helped the sound I had always wanted or felt that I needed to create myself. But as of lately, playing with a lot of local Louisiana acts has influenced me in a sense of what kind of musical direction I want to get into for the time being, that being Southern Rock. I just picked up a new guitarist, Mr. Suede Wilson, who has been helping me implement southern rock for the past 9 months into our current style. It blends really well musically when we play with rock/metal based acts. The next major album we release I will be featuring him on the album.”

I made a mental note to remind myself that, if I was alive tomorrow, to ask Bug what Southern Rock actually is, and proceeded straight into the next question. “Do you have an all-time favorite Nintendo game?”

“My favorite Nintendo game has to be BattleToads because they were the first punk rockers/goth looking characters in the Nintendo franchise,” Bug said.

As I brought my demitasse espresso cup to my lips, an eardrum shattering explosion rocked the street, shaking the café and causing me to spill the last of my drink down the front of my favorite sweater. Cursing, I reached for a napkin. Another explosion rumbled somewhere in the distance. A café employee appeared at our table and, with terror-filled eyes and a shaky voice, informed us that things didn’t seem to be working out that well on this particular afternoon and that The Metroid would be closing early and that we should probably continue our conversation elsewhere.

I noticed the dreaded red light begin to shine down from the sky, seeping in through the windows, and Bug and I found ourselves agreeing with the frightened food service worker. After gathering our personal items and throwing on our protective cloaks, Bug and I headed out the door. I still had an interview to finish, however, and I wasn’t giving up anytime soon.

“What kind of function do you see electronic-based music performing within horror culture?” I asked.

He skipped over the half-melted body of an Unclass sanitation worker, still in uniform, and replied thoughtfully, “Considering the fact that when Bob Moog first made the full functioning polyphonic synthesizer, musicians weren’t picking it up, due to price and not understanding what can actually be done with it. It was the film industry that was using synthesizers to create sound effects because they could afford it and by that it helped further advance sound design as a whole. So I feel it has even a bigger role now days because most of the sounds on a film are more recreated than actual sounds.”

Having witnessed first-hand the influence that film has had on our culture, I didn’t press the issue any further. Besides, there was a gang of What-Nots approaching fast on their motor machines, all thirteen of them crowding the width of the street. We ducked into an alley just before the group sped past, toxic rain bouncing off their armor, their shouts rising into the air. Seeming a good time to take the questioning in a darker direction, I asked, “What is the best type of curse?”

Bug laughed out loud. “Being that you guys are a horror program, the ones that make you bleed from your eyeholes and your assholes until the person who is cursed completes what needs to be done in favor of the one who cast it.”

Another explosion tore through the city. I looked at Bug. He wore concern across his face.

“I don’t think the Seekers are gonna make it,” he lamented.

“They’ve failed in their quest on their last three tries,” I added with a sigh.

“And the city will burn down, again…”

“Well, it’s not forever,” I said with a smile. “When the Seekers start a new quest, everything will be bright and new once again, and the Unclass will be melting in the streets and we’ll be smiling and having our coffee and it will be a brand new day.”

Bug grinned, appreciating my optimism. “Yeah, you’re right. But still, that’s what sucks about life as a video game extra; your day could just end at any moment, even when you’re right in the middle of something cool, like an interview for Horror Addicts.”

Upon hearing Bug’s soliloquy, I was gripped by a deep and sudden urgency. I had to finish the interview before our world came to an end.

The sirens started to wail. The countdown had begun.

“What’s it like being a socially conscious Goth in the Deep South?” I shouted, holding my recorder out to Bug.

Raising his voice, he replied. “Given the fact that a lot of the people I work with aren’t Goth at all, I’ve learned to get out of my shell and be more open to people who really aren’t on the same level as me as far as style goes, and I can certainly appreciate the cultural differences. Those differences show up in my work quite often. Sometimes it can be really hard though, because most of population in the south has that Christian judgement thing going on, and sometimes it is not so positive. I like to prove them wrong though, how’s the saying go? Kill them with kindness? Haha…!”

The pavement cracked and dark red blood bubbled up at our feet. This was the sign that the Seekers were on their last remaining lives, and that their life force was terminally low; time for one last question.

“How has your benefit work been received? Does anyone ever express the attitude of, “Hey, you’re this dark band, what in the eff are you doing benefit work for? Aren’t all you people supposed to be existential, nihilistic, misanthropes?”

Bug shook his head, knowing the stereotype all too well. “It’s been received quite well since I’ve gotten quite a few articles about me on the internet and in newspapers of my band doing benefit work. I never really got negative attention from anybody about that. However, I’m not the only one that is doing benefit work in the Goth scene. I have come across 50-100 bands in the goth/industrial scene alone, but I don’t think they put in as much time and effort as I do in helping their own community even if it’s not Goth. There is a lot of stuff about benefit work I do that I do not put in the public, why? Because it’s not about press to me, it is about helping the ones in need, the best way we can without going broke. That is just my personal opinion on the subject. Also, if there is someone that did hate on my act or any other act that does benefit work, I would personally tell them they can go suck a dick, they are a terrible person and should just stay inside and keep their opinion to themselves.”

The red sky above us began to glow.

“Any closing words or news on upcoming plans or releases,” I asked as the ground shook beneath my feet.

“Cyberpunks of New Tokyo is a book/album/animation that im working on that’s set to be released sometime 2019. I had to push the date back because there are like two/three other albums I wanna put out before that one is released,” Bug said. “And… Thank you, much love and respect.”

I smiled. “Thank you, Bug, and-

I never finished my sentence. The sky exploded and we both disappeared, an obvious sign that the Seekers had failed in their quest once again. When I regained consciousness, I was seated at my kitchen table, watching the toxic rain fall from the sky, waiting for my next writing assignment to arrive in the mail.

Stagefright is the first band I’ve ever heard of to blend musical genres such as Ska / reggae with Goth and hip-hop with darkwave. How did this come about? Is it something that evolved over time or was combining these different genres an idea that you pursued?

We started out with the concept of a crossover gothic band that incorporated African American styles such as R&B and hip-hop with gothic and darkwave. However, as we evolved, it quickly shifted towards reggae and ska because of the line-up. Don Geron and Pruda Bass, our long-time drummer and bass player, were both in popular local ska bands in the 80s as well as gospel and R&B bands. Our rhythm guitarist at the time, Don Schrieber, came from a rock band, and my brother Scott Saulson and our mother Carolyn Saulson and I were all from a punk/goth background. I’d been in a punk band called Poetic Justice in Hawaii in the 80s. I think Don Schrieber was the only white person in the band at that time – my brother and I are biracial, but we’re black identified. Everyone else in the band was black.

How has your unconventional blending of styles been received?

We have been warmly received on the local fair and festival circuit, playing in a lot of shows like Soupstock, National Homeless Day at Dome Village, Juneteenth, The California Blues Festival, and other community and Afrocentric circles. We had the same sort of following as bands like Spearhead then, and probably appealed to punk and ska fans more than the Goth community; however, we’re very active on the Goth scene and have played with a lot of Goth bands, particularly Protea, Galaxxy Chamber, and Apocalypse Theater.

What is Stagefright’s connection to the horror community?

I (Sumiko) am a horror writer, and a horror blogger, best known for my horror blog series on black women who write horror. I put together 60 Black Women in Horror, and then 100+ Black Women in Horror, reference guides based upon the blogs. They contain biographies of and interviews with black women in horror. And HorrorAddicts blogger David Watson wrote an article for it on LA Banks and Octavia Butler. We also have had a public access television program called Stagefright on and off since 1993. It often showcases horror films and horror directors. We used to put on the San Francisco Black Independent Film Festival, also known as the Iconoclast Black Film Festival. We received a lot of great independent Afrocentric horror works which we aired in theaters like ATA and the Koret as well as on public access.

How important, if at all, is horror, or, dark material –books, music, film, etc- to the creation of music within Stagefright?

Given that horror music is intrinsically connected with the gothic aesthetic and gothic music. I would say very important. Even when I was in a punk band horror was important, and I had songs about The Evil Dead and we tended towards horrorcore and horrorbilly like the Cramps. My brother, my mom, and I were all from the old school Death Rock eighties foundation for Goth, and gravitated towards darkwave when that became a thing. My brother loves Skinny Puppy. My mom loves The Cure. I love Switchblade Symphony. All of those bands have songs about horror. Heck, even Kate Bush writes about horror. I think Kate Bush was the first alternative act I fell in love with. My mom was listening to her when I was 9.

What kind of role do you see dark music playing within our society?

People have to process their anger, fear, grief and other raw emotions in some way. Dark music helps people to get in touch with, process, and get on the other side of things that they might otherwise unhealthily repress. The blues and country music also help people deal with grief. Repressed and at-risk populations often have a deep affinity for music that relays their struggle. Gothic and darkwave music resonates a lot with people who have mental health struggles, letting us know that we aren’t alone and that other people have and do experience depression, grief, and anxiety and that it is okay to feel and face these things. Otherwise, people get very apathetic and numb and quash it all down. I think sometimes we have to face those emotions head on.

Being a multi-cultural group, have you had to deal with any prejudice within the scene?

Somewhat, as we can’t really get airplay in Goth clubs or and are not perceived as gothic by people who don’t see interviewing African Diaspora and African American influences into gothic music as valid. We have gotten a lot of support from general alternative rock stations like KUSF used to play us, for example. Goths let us play in Goth clubs but they never seem to want to actually play our music, because it is too ethnic. My rants and railing against the Eurocentric white skin and pallor obsession within the gothic community are well known. Back in the 80s it wasn’t like that but, then something people call “traditional” Goth emerged later on, which involves wearing white clown make-up. Most African Americans have a negative association with skin bleaching.

Sumiko, as a musician, author, and visual artist, could you please tell us how these three expressions play off, influence, and support one another.

I’ve become quite popular lately as a cartoonist, and ironically, my multiethnic, kinky, poly, queer anthropomorphic mouse cartoon Mauskaveli seems to be getting a lot of airplay on the Goth scene and very little anti-black or anti-multicultural flashback. I think that’s because it is kink centered, and has a lot of queer characters. Multiculturalism is a lot more evident in kinky, queer corners of the Goth scene, and honestly, queer gay folks aren’t terrified of being spotted wearing some color that isn’t black at all. My band often plays at book readings. I think my friend, Serena Toxicat, one of my best friends and oldest friends, best epitomizes this. She’s in Protea now, but she used to be in Apocalypse Theater. We have been supporting each other as artists, authors, and musicians for 25 years now. We both turned 50 this year. After a while, you start to make your friendships circle around your creative interests and vice versa.

Sumiko, do you ever incorporate your written works into a Stagefright performance?

I have been reading my books at Stagefright performances, and recently I did a show with Serena called Kat and Maus. We had two different fashion shows. The first one, my models wore Mauskaveli mouse themed fashions I created, and danced, modeled, and posed to Protea’s Catwave music. At the second one, her cat-themed clothing was worn by her models and she played Stagefright. It was this sort of perfect cultural exchange. Her clothing was modeled by a very, very queer but predominately white crowd, while my clothing was modeled by a multiethnic, body-positive crowd that was not as obviously queer as hers. She did something for the first day of Pride that embraced Trans* identity, it was great! But at the end, she talked about my involvement in the black community. I think us working together is more interesting, frankly.

What is the Stagefright origin story? Is there any particular inspiration behind the band?

The band name actually came from a band I was in when I was in Kerista Commune. It was a punk band, can’t remember if we actually named it Stagefright or if that was my name suggestion but Dune and Revery were the other band members and we only had one song, Ned Was A Nipple Head. My mom loved that name, so when we started our band she adopted it. She had really bad Stagefright and strongly identified with Jim Morrison, who was so introverted he sang with his back facing the audience at early Doors performances. She did that at first as well.

Stagefright has performed in settings as varied as L.A.’s renowned Whisky A Go-Go, to street fairs, to bookstores. Do you have a preferred type of venue? Is there anywhere you wouldn’t play?

We’re kind of great at street fairs, and sometimes our political content gets a strong crowd reaction. One time we were doing a show at the African American Art and Culture Complex for a Unity in the Community event that had a very large African immigrant population in the audience. A man became offended and started to get angry, even jumped on the stage and grabbed the microphone because he thought our songs were too feminist and a challenge to him. Specifically, we were covering Feels Blind by Bikini Kill. So we impromptu talked back to him. I can rap, and my mom can jazz improvise so we both ripped him in two different very African music styles. Then we started covering Cursed Female by Porno for Pyros. When we were done, every single woman in the audience stood up and applauded, while most of the men were sitting in the audience with their hands folded, glowering and pouting. To me, that’s what we are all about – empowerment for black women. My mom and I are the lead singers. We usually perform duets. Sometimes, Scott sings. But this is us! Once my brother got mad at me and mom and called us The Violent Femmes. So yeah, that’s us.

What makes for the ideal Stagefright show?

Some sort of political cause we believe in, like uplifting the African diaspora, elevating black women, narrowing the generation gap, helping prisoners, showing a thug some love, assisting those with disabilities, and raising money for the homeless and marginally housed. We are essentially a very political act.

What are some fun activities that one can do while listening to Stagefright?

Playing Dragon Age 2. Slam dancing, aerobics, twerking, and the gothic spiderweb removing wavy hand dance, political protest rallies, and long road trips on I-5.

Poison cupcakes or very, very sharp knives?

Very, very sharp knives…

If you were booked to play the apocalypse, what would be some highlights of your set?

A large sheet spread in the background with a projector airing artsy horror films, Taaka Vodka, Faygo and Four Loco Jell-O Shots, Chucky, Bride of Chucky, and Seed of Chucky cosplays, and Warhol Starlet Ivy Nicholson.

If I’m going to San Francisco and I don’t want to wear a flower in my hair, what could I do instead?

Serena Kefira Leclerc, Sonic High Priestess of the darkly cat-tastic ambient/noise/soundscape/magical wonder-sound project known as Protea, casts a spell over the listener with her otherworldly sounds. Recently, she was kind enough to emerge from her trance temple to answer a few questions about the creepy sounds she makes and what inspires her to make them. Please read on for a glimpse into this sonic sorceress’ mind.

Well, my mewsic isn’t goth/industrial, purr se, it’s weirder than that, but it is dark and feline, which is why it has appealed to that crowd at times. It’s electronic, sometimes with theremin, which is the first electronic instrument–think Star Trek. Protea features Asian and Albanian string instruments, if I’m lucky. I sing and compose soundscapes. Sometimes I play the gu zheng, which is a Chinese harp, but I’m mostly a singer who seems to have a knack for creepy soundtrack-esque compositions.

Tara Ntula, the bassist from Vague, was one of my electronic composers. He’s a serious cat lover, too. Kat Karsecs played strings, but he moved to Wales. He’s a genius in his own right. Joey D’Kaye from the reunited SF punk band, Crime, plays theremin and does sound, and Baron Rubenbauer from NY punk band, The Nuns, has also done sound. Baron and I formed a band called Ephemeral Orchestra. It was wonderful, (other)worldly and deep, but not cat-obsessed like Protea.

I thought my invented genre name fit the meows, hisses, growls and purrs that come out of my weird head via my mouth (meowth?) quite well.

Your studio recordings have a very free flowing sound and feel. Are the songs planned out and practiced or is it all improved during the recording sessions?

On The Osiris Tree, Black Xmas and Lyttl Drummr Boi were mostly improvised. I did those along with a member of Apocalipstick, which was a performance-art-heavy band with whom I worked for a year or two. Anything featuring screams or Chinese harp on that album was likely improvised.

On the next Protea album, Going Forth By Night, sound engineer and drone artist Matt Azevedo improvised on his Arp, and his friend contributed a touch of improvised guitar. I also improvised some of the vocals on partial as well as full tracks. (This is original music inspired by the ancient Egyptian pantheon, as opposed to cattified Christmas carols.)

Festum Beati Osirim is Protea’s latest holiday album. I worked solo on that one. It’s the lighter counterpart to The Osiris Tree. The ancient Egyptian or solstice songs on Festum are heavily improvised. Anything involving getting the cats to meow is a risk involving improvisation, of course!

On my new cat head-shaped 10” vinyl record with 30 minutes of new music and a couple of remixed tracks, which is aptly named ‘My Love Lies On Cat-Shaped Vinyl,’ the track Pet the Manul, Bitch! was fully improvised, with vocals on my end and Chinese harp played by Kat Karsecs, who was originally my teacher. There are also partially improvised tracks.

What is your recording process like?

I’ll record on anything, anywhere. I’ve recorded on a dinosaurian four-track with an effects pedal, and I’ve recorded at the world-renowned Studios Ferber in Paris, where I used to live. I’ve recorded at home on my laptop and mixed at Philz Coffee. I have recorded in sacred spaces around the world. The track from Going Forth by Night that was done in the Great Pyramid of Khufu in the King’s Chamber was recorded on a phone, and that likely didn’t compromise much in terms of sound and the 16 seconds of profound natural delay. I have made GarageBand my bitch. It doesn’t have to be a fancy feast! That said, I comb everything over like I’m picking nits (or fleas, or ticks…)

Why the use of lyrics from traditional Christmas songs or carols?

Originally, it was intended to spell out the ancient Egyptian origins of Xmas, which is why some of the lyrics are modified in that direction. I was working out my discomfort and conflicts with Catholicism, mostly. Scorsese does the same via his (much larger) platform.

I think Halloween and Christmas mix quite well!

Is Christmas secretly the most horrific holiday of all?

Yes, which is why I have such a push-pull relationship with it. I do Catmas, which is inspired by Christmas, and celebrate the Winter Solstice! Obviously, many of us have a bone to pick with commercialism and obligations around that holiday. For many, family conflicts come to the fore.

What are your personal feelings about Christmas?

Honestly, as long as the ancient origins (Mithras, solstice, Osiris’ day, etc.) are given their due and I can sit home and record, I’m good.

Do you come from a religious background?

I was raised Catholic, practiced Tibetan Buddhism from high school through my mid-twenties, and am now a Bast priestess. I was ordained by Loreon Vigne and Lady Olivia Robertson at Isis Oasis and have my own temple in Oakland, which has been open to the public and is now private, due to my cat’s lymphoma.

Do you practice any particular faith?

I guess you would call it ancient Egyptian-focused neo-Paganism.

In the future, will cats take over the world and make all of humanity their slaves?

They already have, in my book. I used to joke that if cats took over the world, they’d eat us. They are the Illuminati and inteligencia factions of extraterrestrial society, don’t you know?

As a woman making dark noise music, how have you been received in the scene?

The only thing I’ve really noticed is that everyone asks me if I’m the singer. Yes, I am the singer, but I do other things as well. I had a Lyft driver the other day act shocked that I mixed my own music. Like what?! Do you need a penis to mix music now? (Not that men alone have penises.)

How effective do you see dark ambient / noise music when used in the incidental scores for horror films?

It is very effective, and is literally what everyone on ReverbNation tells me my music sounds like.

Have you scored any horror films or, if not, do you have any aspirations to do so?

Terrence McKelsey used Protea in spek.ter, and James Leon utilized it for his film, Dropping Like Flies. Those are a couple examples I can think of offpaw. I also acted in those films.

I just finished making a feline-focused Tarot deck called ‘The Incredible Psychic Meow,’ and there are many visual artists I love, as well. One the world knows is H.R. Giger. Have you seen his cat piece? It’s a famous work. I also love Bosch, who featured cats in his triptych, and I appreciate many of the cat artists of all genders, stripes and purrsuasions throughout history.

Hell, there’s a book called Why Cats Paint that was more famous than the Bible in the 90s. I loved that book. The painters were cats, themselves!

What are your plans for the end of the world?

I can’t even think as far ahead as breakfast tomorrow!

Thank you for giving me this spot and this interview! I’m looking forward to our show and the other pawesome episodes, as well.

Meow, meow!

Please follow the links below, open your heart, mind, and imagination, and experience the dark magic of Protea. We promise, you’ve never heard anything like this before!